HollywoodGolightly

I can't say I blame you, sineast. For me, there is always some inherent camp value even in her worst movies.

Enchantment = hindsight is 20/20 next: One, Two, Three

Marcos, I'm a pretty big fan of Kim Novak, although I must confess I haven't really seen all of her pictures. But I did like her a lot in Vertigo, Pal Joey, Pushover and Bell Book and Candle.

Ustinov, Peter

Seven Samurai (just started)

Quo Vadis?

> {quote:title=NatchuraLee wrote:}{quote} > Miss Golightly, > Thanks! I will be back to you after I get to watch it. Sure thing, hope you enjoy it!

The poster for Seven Samurai is absolutely gorgeous, but the one for Treasure of the Sierra Madre is my favorite, I love the use of color in that one. :x

Moonfleet is scheduled for the evening of July 7th - 12am Eastern (9pm Pacific) *Moonfleet* (1955) A British buccaneer is torn between three seductive women. Cast: Stewart Granger, George Sanders, Viveca Lindfors. Dir: Fritz Lang. C-87 mins, TV-PG, CC, Letterbox Format

Ned Kelly

William Wellman's Thunder Birds (1942) will be shown on the Fox Movie Channel on Monday, June 29, at 8:45am Eastern Standard Time. It is also available on DVD. Just don't mistake it with the _other_ Thunderbirds:

*_FRIDAY, JUNE 12_* *Night Train to Munich* (1940) 10am ET A British spy (Harrison) must pretend to be a German officer in order to save an inventor and his daughter (Lockwood), kidnapped by the Nazis. Cast: Rex Harrison, Margaret Lockwood, Paul Henreid, Basil Radford, Naunton Wayne. Director: Carol Reed *_SATURDAY, JUNE 20_* *Kiss of Death* (1947) 6am and 10am ET A small-time crook who turns state's evidence (Victor Mature) is tormented by a psychopathic accomplice (Richard Widmark) in this powerful film noir shot entirely in New York City. Notable as Widmark's film debut and Best Supporting Actor nomination. Cast: Richard Widmark, Victor Mature, Brian Donlevy, Coleen Gray, Karl Malden, Mildred Dunnock, Millard Mitchell, Taylor Holmes. Director: Henry Hathaway *Murder, Inc.* (1960) 8am and 12pm ET A true account of the infamous gangster organization of the 1930s and its number one hit man (Falk). Cast: May Britt, Peter Falk, Morey Amsterdam, Simon Oakland, Henry Morgan, Stuart Whitman, Vincent Gardenia, Burt Balaban, Sylvia Miles, Sarah Vaughan. Director: Stuart Rosenberg. *_TUESDAY, JUNE 23_* *Kiss of Death* (1947) 8am ET see description above *Thieves' Highway* (1949) 10am ET A tough drama about a war veteran turned truck driver out to avenge his father's mistreatment at the hands of a crooked fruit dealer in San Francisco. Cast: Richard Conte, Valentina Cortese, Lee J. Cobb, Barbara Lawrence, Jack Oakie, Millard Mitchell. Director: Jules Dassin. *Road House* (1948) 12pm ET A dangerous love triangle results when a jealous road house owner (Richard Widmark) frames his childhood friend (Cornel Wilde) for a robbery to insure the affections of the star singer (Ida Lupino). Notable moment with Lupino singing "Again". Cast: Ida Lupino, Richard Widmark, Cornel Wilde, Celeste Holm. Director: Jean Negulesco. *_WEDNESDAY, JUNE 24_* *Where the Sidewalk Ends* (1950) 9:30am ET Otto Preminger's moody film noir story of a detective (Dana Andrews) with a strong hatred for criminals who accidentally kills a suspect and must confront his conscience when an innocent man is accused of the crime. Oleg Cassini (costume designer) cameo. Cast: Gene Tierney, Dana Andrews, Gary Merrill, Tom Tully, Bert Freed. Director: Otto Preminger.

*Where the Sidewalk Ends* will air on the Fox Movie Channel on Wednesday, June 24, at 9:30am ET.

For those who wish to complement their TCM movie-watching with some other channels, such as FMC, here is a brief list of classic musicals coming up on that channel: *_MONDAY, JUNE 15_* *Down Argentine Way* (1940) 6am ET A wealthy American girl (Grable) falls for an Argentine horse-breeder (Ameche) while on vacation. Cast: J. Carrol Naish, Don Ameche, Betty Grable, Charlotte Greenwood, Carmen Miranda, Harold Nicholas, Fayard Nicholas. Director: Irving Cummings. *Moon Over Miami* (1941) 8am ET Two sisters (Grable and Landis) from Texas set out to find rich husbands in Miami. A remake of "Three Blind Mice". Cast: Don Ameche, Betty Grable, Carole Landis, Charlotte Greenwood, Robert Cummings, Fortunio Bonanova, Jack Haley. Director: Walter Lang. *Surf Party* (1964) 3pm ET A group of kids get together in Malibu to party and surf, riling up the local police. Cast: Bobby Vinton, Jackie Deshannon, Patricia Morrow, Kenny Miller. Director: Maury Dexter. *_SUNDAY, JUNE 21_* *The Girl Can't Help It* (1956) 7:45am ET A down-on-his-luck agent (Ewell) is hired to make a singer out of a tone-deaf moll (Mansfield). Cast: Tom Ewell, Henry Jones, Edmond O'brien, Jayne Mansfield, Fats Domino, Gene Vincent, Little Richard, Julie London, Edmund O'Brien. Director: Frank Tashlin. *_SATURDAY, JUNE 27_* *The Great American Broadcast* (1941) 7:30am ET Musical comedy about two men (Payne and Oakie) who buy a radio station. Cast: Alice Faye, Cesar Romero, Jack Oakie, John Payne, The Ink Spots, Harold Nicholas, Fayard Nicholas. Director: Archie Mayo. *Dancing in the Dark* (1949) 10:30am ET A down-on-his-luck actor (Powell) is hired by a studio head (Menjou) to coach a young girl (Drake) to star in a big budget musical. Cast: William Powell, Betsy Drake, Hope Emerson, Adolphe Menjou, Mark Stevens. Director: Irving Reis. *The Pleasure Seekers* (1964) 12:02pm ET Madrid! Music! And, Ann-Margret singin', swingin' and lookin' for a man! Cast: Ann-margret, Carol Lynley, Brian Keith, Tony Franciosa, Gene Tierney, Gardner Mckay, Pamela Tiffin. Director: Jean Negulesco *The Girl Can't Help It* (1956) 2pm ET A down-on-his-luck agent (Ewell) is hired to make a singer out of a tone-deaf moll (Mansfield). Cast: Tom Ewell, Henry Jones, Edmond O'brien, Jayne Mansfield, Fats Domino, Gene Vincent, Little Richard, Julie London, Edmund O'Brien. Director: Frank Tashlin.

Lemmon, Jack

NatchuraLee, Just taking a quick look at what's available from online vendors, it would seem your best bet would be to try to get either a used VHS copy or an imported R2 DVD. Those look like the only options.

The Old Maid - Cousins' bitter rivalry next: I Married a Witch

Ferrer, Jose

> {quote:title=movieman1957 wrote:}{quote} > I was speaking more in context of things in general than the western. With Marian in "Shane" I get the sense that she was content until it looked like things were getting out of hand. Nothing was worth losing her husband for, especially not the land. Joe's problem was losing his self respect. His pride, his honor was as important, if not more so than the land. I agree with you. But wouldn't part of his pride have been tied to being able to defend his family from the bad guys who want to force them out? I think most men are conditioned from a very early age to project an image of strength and confidence, hence you have things like saying "boys don't cry" and so on. (And of course from an evolutionary perspective, the stronger men did get the women he wanted as his mate - but that's another story) > I think westerns of the 50's tended to reflect the family situations of the day that were average among the population, even if stereotypically. My own thought is that westerns were popular because as American became more urbanized that maybe the appeal of being outdoors, rugged, not tied to anything, least of all a desk had a greater appeal. There is still the code of the west and that certainly has its appeal. I may be projecting my own reasons for my love of westerns because I was too young then to have been a part of it. Good point, Chris! But at the same time that America was becoming more urbanized, wasn't it also starting to move towards the suburbs? You had the start of suburbia and the nationwide interstate system, and the heyday of the Big Three, so it's possible people were seeing more of the country and scoping out "new" land in a way that hadn't might not have been possible before the war. And the part of the Code of the West also is a big part, I think. Here, I could definitely see a correlation (perhaps even subliminally on the part of filmmakers) between Americans' ascent to a super power that had to throw its might in conflicts around the world, and the way things were sometimes resolved in the Old West. And the image of John Wayne, especially with its patriotic underpinnings, surely must have reflected that on some level, even if it wasn't something that people were consciously aware of at the time - in a similar way, Sylvester Stallone's Rambo character became some sort of wish-fulfillment fantasy in the Reagan years. So there may be a parallel with the Western and the new-found strength of post-war America. > I think as well the majority of western films didn't have as much a traditional family structure then the TV westerns. Most films are about loners or people on their way from or to something. Family often gets in the way or slows them down. Often the secondary characters were the ones with the normal family. The other side is "Will Penny." Heston falls on, what later becomes, a ready made family but he can't bring himself to do it because he feels he is not worthy of them and that he can't provide for them. Sometimes by the end of the film some of the characters are ready to settle down but it has not been the focus on the film. Very good point. The way I see it, there's always been a very romantic notion of the outsider, the lone rider, who can get things done that a married man, having to look after his family, might not always be able to do. You see that in Shane and The Searchers to some extent, since both Shane and Ethan Edwards are intrinsically loners who you have a hard time imagining settling down at any point in the near future. But in both movies, there is a counterpoint to their characters, one which portrays the strength of the family against adverse circumstances. And I think that to audiences of the 50s, especially, and maybe to audiences watching them years later, they can always look to the lone outsider as a romantic embellishment, someone they might have wanted to be, while they also have a family figure in the movie as a more realistic ideal of the practical ideal they can/could aspire to. That is one of the things, imho, at the very essence of the Western myth: the yearning to go out there, explore, tame and conquer the wild and unexplored territories, while at the same time wanting to eventually find some peace, stability, and settling down to have a family so that you know you will pass on at least part of what you've accomplished down to the next generation, that the family assets will be passed on, that there is going to be something lasting about what was accomplished in settling the Old West. When Shane or Ethan Edwards ride off in the horizon, it's the perfect kind of ending, because you can envision any number of possible fates for their characters, whether the notion of their remaining lone crusaders appeals more to you, or if you would like to see them settle down at some point...

Done, sorry about that! {smiley emoticon}

Intermezzo - romance for musically-minded. next: The Great Escape

> {quote:title=JackFavell wrote:}{quote} > Oh gosh, you are killing me today! No, I didn't have it. I actually have to look up *Kid Blue* now, because I don't remember it at all on his movie list. Must find it.... Kid Blue (1973) doesn't seem to be available on video, but it is a Fox film, so it may show up on the Fox Movie Channel one of these days...

Never on Sunday

The Prisoner of Zenda - Splitting-image heir apparent next: Fantastic Voyage